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- The Case for Long, Long (16’) LumberI use Southern yellow pine for a lot of shop projects, especially for building workbenches and sawbenches. But I also … The post The Case for Long, Long (16’) Lumber appeared first on Popular Woodworking Magazine.
- Sorry, But I Have to Mention Fire SafetyLast week, the woodshop across the street from mine caught on fire. Luckily, no one was hurt, the firemen arrived … The post Sorry, But I Have to Mention Fire Safety appeared first on Popular Woodworking Magazine.
- Yes, Ripple Moulding Exists (and is Awesome)Whenever I explain how “ripple moulding” is made by a “waving engine” – a circa 17th-century machine – most woodworkers … The post Yes, Ripple Moulding Exists (and is Awesome) appeared first on Popular Woodworking Magazine.
- Limbert – Second Fiddle to the Stickleys?Like any Arts & Crafts enthusiast, I like the Gustav and L. & J.G. Stickley classics. But ever since I … The post Limbert – Second Fiddle to the Stickleys? appeared first on Popular Woodworking Magazine.
- The Case for Long, Long (16’) Lumber
LostArtPress on InstagramThe bottom of this drawer from Fisher’s desk not only shows the rough fore plane marks, but also the tear-out and knots he often left in his furniture. While this might be surprising to some readers, this kind of workmanship was standard on secondary surfaces. Despite the fact that I have fallen in love with Fisher’s work, I knew I needed to avoid writing hagiography. It is important to be up front about the fact that his work is not going to impress prestigious connoisseurs. Fisher did not build ostentatious masterpieces for the urban elite. Instead, his calling was to provide simple furniture made of local woods for his conservative, budget-conscious clientele. Fisher was transparent about his mistakes, too. On Dec. 30, 1814, he wrote, “Painted a little upon Dec. Stevens’ sleigh. Worked the rest of the day on picture frame plane stock. Stuck a chisel in the thumb of my left hand.” In March of 1805, after having done the task many times before, he wrote, “Worked upon a chair; broke it putting it together. Began another.” It’s Fisher’s honesty that makes this story so compelling. What woodworker can’t relate to an unsuccessful assembly or to workshop injuries? These everyday jour nal entries provide the context to understand Fisher’s work. Historian Laurel Thatcher Ulrich provides this assessment of the quotidian nature of the diary of a midwife contemporary to Fisher, “Both the difficulty and the value of the diary lie in its astonishing steadiness. … (I)t is in the very dailiness, the exhaustive, repetitious dailiness, that the real power … lies.” Indeed. It is this very fact that makes this survival so significant. The story of Fisher allows us to step into his world to see what life was like for a 19th-century furniture maker on the eastern frontier. — from “Hands Employed Aright: The Furniture Making of Jonathan Fisher (1768-1847)” by Joshua A. Klein #Hands_Employed_ArightThank goodness that monkeys today have much better choices when it comes to footwear for cycling. #sponsoredGerman archaeologists are a good deal more practical than the French, British or American ones I’ve worked with. But that knowledge didn’t prepare me for the three little words Rüdiger Schwarz said to me on June 8, 2017. “Pick it up.” The “it” was a low workbench that had been recovered in 1901 from well No. 49 at the Roman fort in Saalburg, Germany. Though the scientists at Saalburg haven’t been able to date this particular workbench, a second similar bench from well No. 49 was dated to 187 C.E. That would make this “it” the oldest surviving workbench of which I am aware. And “it” was between my legs. Dutifully, I reached down, grasped one end of the cool black surface of the oak bench and lifted it a few inches off the floor. Rüdiger grasped the other end. We guided the bench about 3' into a small hallway. I put it down as gently I could – my hands trembling and my stomach lurching. Then, like a team of coroners, Rüdiger, Bengt Nilsson, Görge Jonuschat and I examined every detail of the bench, from toolmarks on its underside to the interior configuration of the mortise for the planing stop. We measured the bench. Photographed everything. We took a break, then we came back and repeated the process to make sure we hadn’t missed anything. — from “Ingenious Mechanicks” by Christopher Schwarz #Ingenious_Mechanicks
- Celebrate Whimsy blog.lostartpress.com/2018/08/17/cel… https://t.co/x0WGTKE8Tb 15 hours ago
- Dictum: The New Woodworking Mecca blog.lostartpress.com/2018/08/16/dic… https://t.co/CcO8oKnsip 23 hours ago
- Slöjd Butter Knife blog.lostartpress.com/2018/08/16/slo… https://t.co/fXP8bm5FNP 1 day ago
Search Results for: cornett
I’ve just finished my article for Mortise & Tenon Magazine about Chester Cornett’s “Masterpiece Bookcase Rocker.” I believe Cornett called his bookcase rocker a masterpiece for its expert joinery, its level of adornment and care of construction – but over … Continue reading
Driving through Eastern Kentucky makes me homesick for the mountains of Arkansas. Something about the contrast – intense natural beauty with equally intense poverty – reminds me of growing up in the Ozarks. And every conversation with the locals is … Continue reading
I’ve seen a blurry photograph of a detail of Chester Cornett’s chairmaking workbench and read Michael Owen Jones’s description of the bench in “The Craftsman of the Cumberlands.” At the time I thought: That sounds like a Roman-style workbench. And … Continue reading
Today Brendan Gaffney and I got a rare up-close look at one of Chester Cornett’s rockers during a preview for an antiques auction in Cincinnati. The walnut rocking chair was one of Cornett’s later pieces. And after a close examination, … Continue reading
For many years, I have been an undying fan of the work of Chester Cornett (1913-1981), a traditional Eastern Kentucky chairmaker who crossed over to become an artist who lived out his last years in Cincinnati, just a few miles … Continue reading
Normally around this time every month Chris writes a blog post to tell you that the Lost Art Press storefront in Covington, Ky., will be open on the coming Saturday. But with Chris visiting his (kind of) ancestral homeland, it’s … Continue reading
Few can claim that they’ve made a novel or uncompromising break from the design of their time. Whether we are interpreting, imitating, recasting or reacting to the designs of others (consciously or unconsciously), few designers add truly original elements to … Continue reading
Earlier this week, contributing editor Suzanne Ellison suggested a short Q&A on early seating furniture, which she has been helping me research for “The Furniture of Necessity.” I consented, as long as the interview was conducted nude. This is my … Continue reading